[John Cuevas]

Looks like the problem is 2.5 didn’t port into CS6 correctly. Strange, cause I just tried on 5.5 and it works okay, I was thinking it was a 64bit issue.

Anyway glad my workarounds will help you out and it wasn’t something you were doing incorrectly.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Glad you figured it out.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Can you post a screen screen grab please? I can’t get the rotate tool to be disabled, so I’d like to see what you are doing.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

I’m not sure why CC Light Burst is constrained by the bounding box(other effects, like blurs, trapcode shine aren’t). Your picture of the effect working doesn’t show the layer/stacking order, so I don’t know if CC Light Burst was added directly to the text.

Couple of workarounds though. Probably the easiest would be to precomp(Shift+Cntl+C) your text. Then apply the effect to the precomp. Precomping text is often a good workflow for lots of text applications as you can easily change/add effectsw or create duplicates and only have to open the precomp to alter the text.

Alternatively you could add an adjustment layer (cntl+alt+y) and put the effect on that layer.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

NLE is a non linear editor, like an Avid or Final Cut Pro. The transitions look like some standard 3D transition pack you would add to a system, though I can’t say for a 100%, it’s not one I have on my Avid. The way I described and in the example project would be the way I would make that transition.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Two ways come to mind. Duplicate the video layer of the book, carefully mask out the title only, then fade away the bottom video layer, leaving only the title. You could probably even then rotate the title straight(though this might present some aliasing issues). But if you were to shoot in say, 1080 and work in 720, it probably wouldn’t be noticed.

The method I probably would use, would be to clone out the title of the book from your shot. Then carefully recreate my own title. One that I could manipulate any way I wanted later. Using layer styles, with bevels, embossing and gradients you should be able to completely recreate the title. This way you could take the flat/rotated title and straighten it out and place it full screen as the book dissolves.

Just my .02 cents.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

That looks like a bought transition from some NLE transition package, but it can be easily recreated in AE.

Assuming a 1280×720 comp.(need to determine a size, because there’s some math in this one)
Step 1: Place Outgoing shot & Incoming shot into there own precomps.
Step 2: Create a Final comp and drop both shot into it.
Step 3: On the outgoing comp, create a mask that divides the comp at the fold line. Copy this mask to the incoming comp. Duplicate both comps, twirl open the mask properties of the duplicates and change the mask to inverted.(If it helps rearrange the stacking order of your comps, and rename them with “_top” “_bottom”) You should have a full screen shot right now.
Step 4. Take Incoming top and move it from 640×360 to 640×0. Take Incoming bottom and move it to 640×720.(You are moving them to the top and bottom of the screen).
Step 5. Enable 3D for all the comps.
Step 6 Select the Outgoing Top and set keyframes for Position and Rotation. Move forward 1 second and change the X rotation to 90 and the position to 640,360,360.(this moves back half the distance of Y in Z space, so as we rotate the comp, it will pull the Incoming Top into the right position. If this is confusing…skip the position step and watch what happens to the incoming shot, it will be about 360 pixels forward and larger than you wanted)
Step 7. Copy the position and rotation keyframes from top and paste them into bottom. Change the x rotation from positive 90 to -90.
Step 8. Go to the first keyframe and now parent Incoming_Top to Outgoing_Top and Incoming_Bottom to Outgoing Bottom
Step 9. Optional—I added a light to my scene to enhance that it was 3Dish…

Here’s an example project to help you see what I did. If you have any questions I’ll be happy to help out/explain more: 5364_transition3dfolder.zip

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

You could do it by adding a repeater, setting up the position offset and animating the copies.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Well I was glad I could help. Had a thought about the scale and stroke width, you could use an expression that ties the stroke width to the scale. This is exactly a perfect solution as scale moves exponentially, but it would keep it proportionally tied together. If you did some math(more math than I’m can do, you could probably get it to work perfectly)

myScale = content("Polystar 1").content("Repeater 1").transform.scale[0];
startWidth = 20;
endWidth = 5;
startScale = 0;
endScale = 200;
linear(myScale, startScale, endScale, startWidth, endWidth)

I made a quick little project so you could play with this: 5359_scalestrokewidth.aep.zip

In my example the scaling is limited to affecting the stroke width between 0 and 200, but you can change that by changing the input variables. So if you knew you were going to keep the scale between 75% and 150%, you would change startScale and endScale. Same goes with the stroke width, just adjust startWidth and endWidth.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.

[John Cuevas]

Glad to help.

Johnny Cuevas, Editor
Thinkck.com

“I have not failed 700 times. I have succeeded in proving that those 700 ways will not work. When I have eliminated the ways that will not work, I will find the way that will work.”
—THOMAS EDISON on inventing the light bulb.